Category: Performance practice

  • Rachmaninoff and phrasing

    A student of Rachmaninoff, Ruth Slenczynska, recalled: I remember how Rachmaninoff explained to me the problem of phrasing: he showed me an elastic band and stretched it slightly, then allowed it to bounce back; next, he stretched it beyond a certain point, and it snapped. He meant to say that no part of a musical…

  • Ruth Slenczynska’s advice on musical lines

    Make your musical lines as long as possible. Rachmaninoff said, “Small musician, small ideas; big musician, big ideas.” After an artist has played a program many times he can soar so high above the music that he conceives the whole event in one arch of sound. Make each phrase prepare for the next; make many…

  • Debussy on Metronome markings

    You know what I think about metronome marks: they’re right for a single bar, like “roses, with a morning life”. Only there are “those” who don’t hear music and who take these marks as authority to hear it still less! But do what you please. — Debussy, Letter to Jacques Durand of 9 October 1915…

  • Debussy on pedalling in Chopin

    Despite my respect for Saint-Saëns’ age, what he says about Chopin’s pedalling isn’t entirely true. I have very clear memories of what Mme Mauté de Fleurville told me. He (Chopin) recommended practising without pedal and, in performance, not holding it on except in very rare instances. It was the same way of turning the pedal…

  • Pavel Kolesnikov on historical instruments

    For me, one of the ultimate goals of a performance is to make pieces come across as something new, something unexpected and fresh. As soon as you start working with historical instruments, you are jeopardising this aspect. It is very difficult to get away from that; some performers manage it magically, but I don’t see…

  • Rafal Blechacz on interpretation

    Most of all, I give myself plenty of time to get familiar with the composition, to “grow into” its concepts. The composition “congeals” under your fingers and in your heart; each phrase becomes yours, and the artistic expression, which emanates from the piece, becomes your expression. Artistic intuition also plays an important role, although it…

  • Form your own interpretation

    I have often made the point in masterclasses that students should not listen to lots of recordings of a piece they are learning. I’m always a little horrified when I hear a student say, “My teacher told me to learn the Chopin G minor Ballade, so I went to the library and took out eight…

  • The ideal and the played performance

    Some conductors put all the emphasis on the melodic line, while others are fanatics about rhythm, but there are very few conductors who are uniquely able to look at the score and hear every part before it actually happens. With the very best of conductors, it’s as though there are two performances going on simultaneously.…

  • Performance anxiety

    “There is no anxiety in the present. Anxiety is either in the past, worrying about what was just played, or in the future, worrying about what you are about to play. Nothing can be done about either! Don’t judge or evaluate while you’re performing.” — Charles Schlueter, principal trumpet with the Boston Symphony. Cited in:…

  • Technique is not music

    “Technique is not music. Music is the thousandth of a millisecond between one note to the other—that’s where the music is.”  — Isaac Stern, in an interview with Mark Stryker Cited in: Green, Barry (2003) The Mastery of Music: Ten Pathways to True Artistry. New York: Broadway Books, p. 2.

  • A new take on the harpsichord sound

    Harpsichordist  Jane Chapman performs both early music and Avante music, including using techniques to use distortion on the harpsichord! “Many early music people are interested in contemporary music, too, and many composers are also interested in early music instruments because they don’t have the baggage of the [classical and romantic periods]. Increasingly, younger generation composers…

  • The art of pedalling

    The one bee in my bonnet is over-pedalling, and I give my students a hard time about that. It’s the lack of being able to play a true legato with the fingers.  People rely on the pedal for that, and the pedal is not there for that.  The pedal is for putting the gloss on. …

  • An artist’s job is not for small talk

    Nora Guthrie, Woody's daughter, once told me a story about a reception she was at where Bob Dylan was in attendance. The business people there were quietly commenting on how unsociable Dylan seemed to them, not what they imagined an encounter with Dylan would be like. When that observation about Dylan's behavior and disposition were…

  • Context and beauty

    “When you’re young, you can be taken with the impulse of the moment and the beauty of a phrase, but the older you get, the more you see that the phrase is only beautiful because of the context within which it works.  The melody is only the outward manifestation of something quite deep inside and…

  • Berlioz on editorial license

    “You musicians, you poets, prose-writers, actors, pianists, conductors, whether of third or second or even first rank, you do not have the right to meddle with a Shakespeare or a Beethoven, in order to bestow on them the blessings of your knowledge and taste.” – Hector Berlioz, on tampering with fine creations (in this case,…

  • It’s two-four … It’s three-four

    Chopin had a free sense of rhythm.  In 1842, Chopin was giving a lessen to Wilhem von Lenz when Meyerbeer walked in.  The Mazurka (op. 33 no. 3) was being played.  von Lenz recounts: Meyerbeer had seated himself; Chopin let me play on. “That is two-four time,” said Meyerbeer. For reply, Chopin made me repeat,…

  • A democratic orchestra

    In 1920s Soviet Russia, musicians experimented mirroring the political state: “Just as the government didn’t need a tsar, so the orchestra didn’t need a director,” says Pyotr Aidu of the School of Dramatic Art, which will revive the long-dead form at a premiere concert Thursday. Miriam Elder, “1920s Orchestra Without a Conductor Revived”, The Moscow…

  • Mattheson on the courante

    “The passion or affection which should be performed in a courante is sweet hopefullness.” – Johann Mattheson. Siblin, Eric (2009) The Cello Suites. Crows Nest: Allen and Unwin, p. 103.

  • When precision isn’t enough

    Debussy was well known for wanting precision in performance. However, it was not always quite enough: Some time in 1917 Debussy went to hear the Suite played by a famous pianist. ‘How was it?’ I asked him on his return. ‘Dreadful. He didn’t miss a note.’ ‘But you ought to be satisfied. You who insist…

  • Leif Ove Andsnes on Beethoven

    “I feel a real need for Beethoven now.  It’s such important and spiritual music: it gives you strength, it gives you comfort. It’s just great!” – Leif Ove Andsnes, pianist. Source: Jessica (2011) “Top of the World”, Pianist, Issue 60. p.13.

  • Vaughan Williams on an authentic performance of Bach

    Vaughan Williams gave a broadcast talk on Bach entitled “Bach the Great Bourgeois.” It was later published in The Listener. Vaughan Williams, who was involved in performances of works such as Bach’s St. Matthew’s Passion as part of the Leith Hill Festival, offered some insight in contemporary approaches to Bach performance: WHEN I was a…

  • The musical memory

    “Of course, almost anybody can memorize things, especially music. It’s like the ABCs and, for most, fun to do. I’ve taught music in middle school programs and have been surprised at the hefty repertoires of popular music that 12- to 16- year olds commit to memory. To boot, they knew when I made a mistake…

  • The logic of opera in English

    “Opera in English, is about as sensible as baseball in Italian.” – H. L. Mencken, twentieth century American journalist, critic, and satirist. Peter, Lawrence J. (ed) (1977) Quotations for Our Time

  • The piano, as distinct from the harp

    Beethoven on the development of the piano as an instrument in its own right: There is no doubt that so far as the manner of playing it is concerned, the pianoforte is still the least studied and developed of all instruments; often one thinks that one is merely listening to a harp.  And I am…

  • Mozart on rubato in adagios

    In 1777, Mozart visited Heir Stein in Ausburg (1). According to Mozart, Stein had stated that no-one has ever played his Piano Forte as well as I have, and, besides, I always keep correct time. They are all wondering about that. They simply can’t believe that you can play a Tempo rubato in an Adagio,…

  • The development of keyboard technique

    Before the time of Bach, keyboardists would often only use the middle three fingers of each hand and tended to keep their hands flat. Bach taught his students under the new principle of using all the fingers. Beethoven asked his pupils to curve the hand. Source: Marek, George (1969) Beethoven: Biography of a Genius. London: William…